Please note: this show has been cancelled to help contain the spread of the new coronavirus.

In the first part of Suite n° 4, recognizable and anonymous voices overlap as though they were coming from different acoustic spaces. In the second part, the voices are accompanied by eight musicians from Ictus. The Encyclopédie de la parole collective presents a performance about absence, like an opera without singers or a theatre without actors. For 150 minutes, you hear a thousand concrete situations in more than 30 languages.

Please note: this show has been cancelled to help contain the spread of the new coronavirus.

‘I resist the laziness of resistance. I am disgusted by how rage imagines itself to be a valid argument. I am ashamed of the dullness of the screamers. After Otaku, In Onaanvaardbare Staat and Habeus Corpus Joost Vandecasteele is returning with this new solo.

Warning: this show is cancelled to help contain the spread of the new coronavirus.

Looking for insights about love, Maatschappij Discordia decided to consult Elfriede Jelinek. While last season, Marguerite Duras accompanied them in a lifelong attempt to articulate the first experience of love, with Jelinek, Discordia has immediately encountered provocation. What is the image that this author – a virtuoso at unmasking clichés – sketches of love… and the female experience of love?

Warning: this show is cancelled to help contain the spread of the new coronavirus.

Of what does the practice of choreographing consist? In Rewriting, Jonathan Burrows attempts – by turns hesitantly and exuberantly – to map out the unknown territory known as choreography. In contrast to the dominant model, which assumes that a successful production is the result of a fixed, predetermined idea, Burrows proposes a practice of a slow, coincidental accumulation of meanings.

Warning: this show is cancelled to help contain the spread of the new coronavirus.

For this adaptation of Moby Dick, Gorges Ocloo called on Ben Okri, who adapted the novel into a magic-realist story about the gulf between high and low, rich and poor. Josse De Pauw and the soprano Nobulumko Mngxekeza-Nziramasanga take to the stage to perform an energized and jazzy opera about the need for rapprochement in an increasingly polarized society.

Warning: this show is cancelled to help contain the spread of the new coronavirus.

For this ‘remake’ of Iemand van ons (2005), Tristero has mobilized a seasoned cast with plenty of life experience. Reinhilde Decleir, Mark Verstraete, Janine Bischops, Bob De Moor, Kristin Arras and Kris Smet all get into a big bed together and talk about politics, love and life. With a great sense of humour, they ask one another personal questions, listen, toss and turn on the bed, and reveal their inner selves.

Warning: this show is cancelled to help contain the spread of the new coronavirus.

William Gaddis is one of the most influential authors in American postmodern literature. His 1975 magnum opus JR is a complex and hilarious satire on capitalism. FC Bergman has opted for an ambitious adaptation that unmasks contemporary humanity. The company is building a sky-high set in the halls of Paleis12 at the Heizel, around which an extensive ensemble of actors will reconstruct the kaleidoscopic world of JR.

Warning: this show is cancelled to help contain the spread of the new coronavirus.

A young woman in a city that has been occupied for decades. On the day of her father’s funeral, she discovers his architectural drawings. Broken Shapes is a hybrid theatrical experience between installation, video and performance that explores how physical surroundings affect us mentally. Onstage we see one actress, her words are supported and interrupted by the visual interventions around her.

Warning: this show is cancelled to help contain the spread of the new coronavirus.

1974, Zaire. In the Fight of the Century, Muhammad Ali defeated George Foreman. Mobutu Sese Seko founded the National Ballet of Zaire. Fast forward to 2019. Faustin Linyekula has created a production in which he reflects on key moments in the history of theatre. Along with three members of the Congolese National Ballet and actors Papy Maurice Mbwiti and Oscar van Rompay, he explores what the young Congolese state could have become.

In this personal performance, Khadija El Kharraz Alami blends perspectives from Euripides’ Medea with her own story about growing up between both the Western and the Moroccan world – and about the clash of forces within the self.

On August 3, 2018 Kim Snauwaert and Anyuta Wiazemsky Snauwaert were legally married in the City Hall of Ghent. One of the reasons was for obtaining a residence permit, but mostly with the intention of creating 'a sustainable community living.’ But what does that mean? In this performance the artists talk about their process and reveal their artistic premise.

Sarah Vanhee has been conducting research on screaming since 2013. In collected screams, she embodies uttered and unuttered scientific, philosophical, mythological, artistic and political screams. She focuses both on socially accepted and collective screaming, as well as on darker, more intimate variants. She attempts to re-claim screaming as an instrument, as a weapon, as something curative, as relaxation, but also as a means to express pain, excitement, fear, anger, joy or anything inexpressible.

FIÈVRES is the story of the small streams that coalesced to form the tempestuous torrent of the popular uprising in Algeria in February 2019. Starting from the actual events of the revolution, the author Mustafa Benfodil sketches a universal portrait of resistance and the indisputable role played in it by women.

This curated Beckett evening presents a surprising mix of forms: a monologue by Johan Leysen; a video lecture by philosopher and mathematician Jean Paul Van Bendegem; and a performative scenography as a possible landscape for a Beckett text. Through this combination, Kris Verdonck explores a fascination that he shares with Beckett, namely technology and the increasing conflict between humans and machines.

The building blocks of Move (on) include the dialogues of the English playwright Dennis Kelly, a dull growling that expresses the sense of uneasiness in our society. Voices will rise above this, such as those of the characters created by the Egyptian author Alaa El Aswani. They speak of corruption, and of the economic, social and religious straitjacket in which they are imprisoned. They blend with voices from the work of the Palestinian Mahmoud Darwish or the Syrian playwright Saadallah Wannous, bursts of wild hope but simultaneously exclamations of shared powerlessness.

An expedition to the source of the Styx has taken Karen Røise Kielland and Katja Dreyer to the heart of Greek mythology. They breathe new life into an old myth through numerous encounters with local residents and their stories about the river. The performance begins with multiplicity and chaos, but the closer to the source, the more order and monochrome silence begin to surface.

A phrase is haunting the globe: We are the many. Some may find these words troubling, if not frightening, whereas others see it as most joyful. It probably depends on whether you think of yourself as belonging to the many or not. And what about phrases such as ‘we are the people’ or even ‘we are the 99 %’? In a three hour lecture performance, Dieter Lesage presents the central questions of his upcoming book Parliament and the Many. A Theory of Radical Democracy.

On a bare stage under bright light, six hapless clowns do their best to get along and pass the time. They fight and chase in eruptions of uneasy mayhem, then cool off a little, settle and wait for the whole thing to kick off again. Carefully unbalanced between funny and not funny, Out Of Order is the ruins of a show in the ruins of a world.

The first talk shows aired in the 1950s and they have determined the evening rhythm in many living rooms ever since. But the invention of the internet has definitively pushed the format into decline. In TALK SHOW, Suze Milius bids them farewell. It is both a retrospective and a look ahead into the future, an attempt to ascribe value to everything that gradually disappears, and an ode to the details of our existence.

In MEMENTO MORI!, documentary filmmaker and visual artist Els Dietvorst brings two solos together. The first is performed by Dirk Roofthooft, one of Flanders’ most iconic actors, the second by the Brussels-based actress Aurelie Di Marino. The first monologue mirrors the second. As a diptych, they reflect on themes such as individualism, globalization and migration, as well as the alienation and disenchanted world to which they lead.

A stone’s throw from the Kaaistudios, there is a row of dilapidated and unhealthy social housing blocks that will soon be demolished: these are the five blocks of the Rempart des Moines. The current residents have to make way for more affluent buyers. The Brussels Brecht-Eisler Choir is presenting a musical theatre piece that attempts to capture and evoke their confusion and uncertainty.

All the Good is a story with a double autobiographical background: on the one hand, the life of Israeli elite soldier and war veteran Elik Niv, and on the other, Jan Lauwers’ life with Grace Ellen Barkey and their children – in a house and workspace in Molenbeek. It is a love story in an age in which Europe is throwing its values to the wind and a growing group of people is being seduced by hate and intolerance.